What It’s Like To … Be an Afrobeats Songwriter
Mbryo, born Maxwell Omoferi, is one of the foremost songwriters in Afrobeats. He has co-written Grammy-nominated hits for stars like Ayra Starr, Davido, and Magixx. His rise from the streets of Lagos to the global music stage is both inspirational and instructive.
Mbryo is one of the foremost songwriters in Afrobeats, with far-reaching influence across the scene
Afrobeats songwriters have come a long way. Songwriting, which was often an uncredited role, is now gaining recognition as more industry professionals acknowledge the importance of songwriters. Mbryo and Mavin Records have significantly contributed to that realization through the work he has done within the record label.
Starting as a songwriter in 2019, Mbryo would score his big break with “Bloody Samaritan,” the Ayra Starr song that rocked the world with its in-your-face confidence. He has since written several hits within and outside the label, co-writing “GODFATHER” and “FOR THE ROAD,” both lyrical standouts from Davido’s expansive Timeless. Chances are that you’ve heard a song co-written by Mbryo. He’s a seamless modifier of styles, able to create pulsating bangers (“Rush”) as well as dabble in softer, melancholic terrain (“All Over”).
Mbryo’s contributions tend to hit on a gut level. As a musician, he’s able to place himself creatively at the scene. “Sometimes it’s the beat that inspires me,” he tells OkayAfrica. “It might just be a sound or instrumental that draws you in. And it kind of speaks to you, like it's having a conversation, so you have rhythmical directions automatically, and you can just build from there.”
In 2023, Spotify named Mbryo ‘Songwriter of the Year,’ a recognition of the immense portfolio he accrued within the period. With Afrobeats ripe at the door of global domination, still here after several ideological and institutional setbacks, the role of songwriters in broadening the audience's experiences has never been more crucial. Artists have always understood the need, and Mbryo is even more intent on showcasing the intersection of the pen and music-making; it’s a bright time for the industry.
Below, Mbryo delves into his journey in music, the songwriting techniques he’s picked up, and what he thinks about the industry for songwriters right now.
Mbryo: I’m a Warri boy; I’m from Delta state. We moved to Lagos during the crisis in the nineties. We’ve been living in Lagos since then. I’m the eldest of seven children, and I used to love football deeply. If I hadn’t gone into entertainment, I would probably be a footballer.
With music, it’s a clichéd story of how it all started in the church. Mine was literally the case because my dad is a pastor, and I was the choir director. I was the instrumentalist, the pianist, the drummer, and everything. I’ve always had a passion for music and creating melodies.
In 2009 or 2010, I met this guy through a keyboardist friend of mine, and he was like ‘Baba, you sound so nice.’ Because his house is beside mine, whenever I’m taking a shower, he always hears me singing. So he was like, ‘You have a very nice voice, I wonder why you don’t want to sing.’
He connected me to a producer in Festac, and I reached out; the guy gave me an appointment. I met him, and he told me to sing one song I had in mind. He liked it immediately and promised to produce it for free. That was how I made my first song ever, and I kept going to the studio every day, and he kept giving me the opportunity to record. The more I started recording, the better I got.
Songwriting started in 2019 professionally. I started off writing poetry. I’ve always had this flair for poetry, for the literary. Poetry was my favorite; I just loved the way poems are arranged into stanzas — the ABAB, AABB forms. I’ve always liked structure. So I kinda applied myself to songwriting—I’ve always been writing my own music, and I had friends who were producers and artists who would always like me to be in their sessions.
But I never knew that I had something special; that’s why they wanted me there. I felt like it was just vibes. In 2019, it became a serious thing with the success of “Bloody Samaritan,” and I started looking at it like ‘this is something I could actually consider for a career.”
At Mavin Records, it starts with the mentality that teamwork makes the dream work. It’s a collaborative mindset. We all come together to make it work, and by the grace of God, my pen has been able to churn out some of the biggest Afrobeats records in this part of the world.
Sometimes, creating starts with a word. There’s just a word that’s bugging in your mind; it might be freedom. It’s just an idea, and you keep flirting with it until it starts taking shape. When I’m creating, I don’t put it in my mind that I’m writing a song for an artist; I just create. And it happens to just suit somebody’s needs at that time.
The acceptance and recognition of songwriters has reached new heights, mainly because more people are openly identifying as songwriters. Previously, many hesitated to claim this title, often because artists themselves were reluctant to share credit. Thanks to platforms like Spotify and other industry initiatives, we now have visibility into the creative teams behind musical projects. It wasn’t always like that.
There’s no pressure to return to being an artist. It’s just music, and I enjoy doing it; I don’t know what the future holds, but I see myself putting out music now and then, even if it’s just for the fun of it.
